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中国画中的空白,广义地说是在中国画中笔墨未涉及到的空间,即无笔墨处。空白虽然无笔无墨,却是中国画艺术不可缺少的表现语言,是形成中国画艺术独特风格的一大特征。可以说没有空白就没有中国画艺术。空白意识的产生和发展,是受中国传统文化熏染的必然结果。在中国古代,老子最先提出了“知其白,守其墨”的辩证观点,他虽然是从哲学领域提出的问题,但却深深地影响着中国绘画的发展。引入画论的“知白守黑”,是指黑白虚实相辅相成的形式法则。在中国画里,虚实关系表现极为广
The blanks in Chinese painting are, in a broad sense, the spaces that are not involved in the Chinese paintings, that is, no ink. Although there is no ink and no ink, blank is an indispensable expression language for Chinese painting art. It is a major feature of the unique style of Chinese painting art. It can be said that there is no blank without the art of Chinese painting. The emergence and development of blank consciousness is the inevitable result of being tainted by Chinese traditional culture. In ancient China, Lao Tzu first put forward the dialectical view of “knowing the white and defending the ink.” Although he raised issues from the philosophical field, he deeply influenced the development of Chinese painting. The introduction of painting theory of “knowing and keeping the black” refers to the formal rules that complement each other with black and white. In Chinese painting, the actual situation is extremely wide